No stranger to the UK … Long Yu conducts the China Philharmonic. Photograph: Chris Christodoulou/BBC

The China Philharmonic, with its artistic director Long Yu, is the first of a series of orchestras, mostly from the far or Middle East and Australia, to make their debuts at this year's Proms, though neither they nor Yu are by any means strangers to the UK. Founded in 2000, the CPO was heard at the Barbican five years later; Yu, meanwhile, returned to conduct the BBC Symphony last year. A fine orchestra, with superb woodwind, they play with fastidious precision and considerable elegance. Yu, however, seemingly favours interpretative detachment. Though there are strengths and weaknesses in his approach, the emotional pitch of the evening was, if anything, too cool.

The love scene from Tchaikovsky's Romeo and Juliet admirably avoided syrupy sentimentality, though the Capulet-Montague brawls were short on both violence and excitement. Mussorgsky's Pictures at an Exhibition, in Ravel's orchestration, contained some ravishing things, such as the poised, dreamy Vecchio Castello, though the work's darker moments, Gnomus and The Hut on Fowl's Legs, failed to disturb. Yu's choice of a curtain-raiser, meanwhile, was Elgar's Pomp and Circumstance March No 4, done with a metronomic rigidity more military than ceremonial.

The two very different concertos at the programme's centre were more satisfactory. Haochen Zhang was the soloist in Liszt's First Piano Concerto, flamboyantly moody throughout and injecting some much-needed passion into proceedings. After the interval came the UK premiere of Joie Eternelle, a set of variations on a traditional Chinese melody for trumpet and orchestra, written for Alison Balsom by Qigang Chen, Shanghai-born, Paris-based and a pupil of Messiaen. Beautifully crafted, the score has a haunting, timeless beauty and proved a fine vehicle for Balsom, though its subtle gradations in difficulty more than once took her to the limits of technique and virtuosity.